April May 2015 Cape Camera

CAPE CAMERA April-May 2015 Official Newsletter of the

Cape Town Photographic Society

In this issue President’s message

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Tribute to Leslie

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April winning images 20

News flashes

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Bein Wine images

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Judging nature images 22

De Hoop congress

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AVs in the old days

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May winning images

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Celebratory dinner

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Competition news

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Judging reviewed

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PSSA entries

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Calendar for year

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De Hoop images

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President’s message

015 Is fast approaching the half way mark and our 125 year celebrations will soon be a thing of the past.

The weekend at De Hoop was surely one of this year’s highlights.

We are most indebted to Pat Scott for making it such a memorable occasion.

From start to finish it all went like clockwork. The speakers were superb and the venue had much to offer. Pat, on behalf of all of us, a big thank-you. We all enjoyed the De Hoop experience.

While at De Hoop I was spoilt with a cake on arrival to celebrate my 80th birthday which was on 23 May. Thank you all for the many good wishes I received.

The climax of the celebrations was at the dinner when Nicol du Toit presented me with a certificate awarding me honorary life membership to CTPS. I say a big thank you to all of you for this honour.

Our celebrations are not over yet, as there are still things happening every month for the rest of the year.

In June we will have an outing to record the diverse architectural buildings in Cape Town. July is the exhibition at Artscape with images taken over the 125 years of CTPS’s existence. August will take us to the West Coast National Park; September will be dedicated to the fasci-

Monthly meetings

Monthly meetings are held in the St Stephens Church Hall in Pinelands at 7pm.

1st Wednesday: Competition 2nd Wednesday: Audio-visual 3rd Wednesday: Education & Development.

nating world of the production and displaying of Audio Visual presentations. Our final celebration will be our gala dinner on 30 October.

At the recent council meeting two items which had been on the agenda for a while were ratified.

We thank all those who voted on the issue of judges as well as thanking you for your valuable comments, which will be considered in the future. As from June 2015 there will be only one judge at competition evenings.

It was also agreed that no monetary awards will be given to the winners of the different categories at the monthly competitions. Winners will be announced and congratulated. We take pictures and enter them in competitions, not for financial gain, but for the prestige of having our images recognised as items of good art.

Our web site is being redesigned by Peter Brandt to be more user-friendly and it will soon be up and running.

Cape Camera, together with Snapshot, will continue to update us on all that is happening each month.

For now I wish you all good shooting, Yours in photography, Detlef Basel Hon PSSA, APSSA

Cape Camera dates 2015

On the cover

The Print Set Subject (Nature) Winner Salon and PSSA senior entry in the May competition was Understated Power (26 points) by John Spence.

CTPS Contact details:

Website: www.ctps.co.za Email: info@ctps.co.za Facebook : www.facebook.com/ groups/1530153687246454.

CTPS council members

President Vice-president Development & Education

Honorary Secretary

Honorary Treasurer

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Detlef Basel Nicol du Toit Pat Scott Jacoba van Zyl Nicol du Toit

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News updates are now sent to members via Snapshots, while Cape Camera will be published every second month after the last CTPS function of the second month (e.g. April-May after the Congress in May). Any contributions are most welcome. Please submit to editor@ctps.co.za.

Material deadlines: July 2015: 27 July September 2015: 24 September November 2015 23 November

Property Manager Competitions Convenor Competition Judges Audio-visual Convenor

Publications Officer

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Richard Goldschmidt Lesley Parolis Pat Scott Robert Maginley Trudi du Toit

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Cape Camera • April-May 2015

CTPS news flashes

Jeanette du Toit wins salon medal Jeanette du Toit has excelled in recent PSSA salons, winning the PSSA silver medal, four Certificates of Merit and 15 Acceptances in the Sandton, Vereeniging and Kathu Salons.

Her image Face to Face (right) won the PSSA Silver Medal (for the winning image) in the Print Nature - Colour Print category of the Sandton Salon.

She also got Certificate’s of Merit in the same Salon for two images, A Midst a Dust Storm and Hard Working Bee, and Acceptances for three images: Skimmer, Praying Mantis Feeding, Gently Stroked by Sun. In the Vereeniging Digital and Print Landscape Salon Jeanette also got two Certificates of Merit for her Nature Landscapes entries Early Morning Mist — De Hoop and De Hoop Dune Detail (Monochrome) and Acceptances for six images: The Plains of Luiwa National Park Zambia, Canola Fields, A very Delicate Landscape, De Hoop Dune Scape,

Life membership for Detlef Basel

CTPS president for Photo: Richard Goldschmidt the past 8 years, Detlef Basel, was awarded Honorary Life Membership of CTPS during the Celebratory Dinner at the De Hoop Mini-Congress at the end of May. According to the CTPS constitution “Members who have given long and outstanding services to the Society may be nominated by Council as Honorary Life Members”.

And as vice-president Nicol du Toit pointed out when he gave him the award, Detlef has spent his life in the service of photography and CTPS — to such an extent that he sacrificed celebrating her birthday with his wife, Barbara (who was appearing in a play) so that he could attend the CTPS congress.

Read more about Detlef’s long service to photography as, among others, committee member of the Pretoria Photographic Society , who also gave him Life Membership and the PSSA as board members, in the next issue of Cape Camera

New members welcomed During April and May four new members joined, to bring the number of paid-up CTPS members to 139.

We wish to welcome: Rose Prew, Renate Handke-MacRobert, Jocelin Kagan and Alyson Riches.

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Early Morning Visitors and Gently Stroked by Sun. In the Kathu Salon , the following six of Jeanette’s images gained Acceptances: Reflection E, Reflection O, Adorned with Shadows and Reflections, The Grande Finale, African Dawn Back Light and Warm Glow over Mountain Range.

Albums created for CTPS outings Please submit 1-5 images, NO bigger than 1MB, of CTPS organised outings to the albums on Photovault under the heading My Club Entries/CTPS 125 year celebrations for use in Cape Camera or the AV’s made by Robert Maginley and the AV group, and for any promotional use by CTPS of our 125 celebrations.

PSSA competition winner

Kathy Priday’s image, One Man’s Wealth (left), won the Junior section of the PSSA Monthly Club Competition in April with a score of 37/ 45 (25/30). Clubs enter their winning junior and senior image every month. In the CTPS competition this image won the Intermediate Open Print section with a score of 24/30. It has also been entered in the PSSA annual interclub competition (See p17).

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CTPS news flashes

International honours for Frank Reuvers

Frank Reuvers won the medal and certificate (right) for his Zebra image that won the 6th place in the 2014 Image Sans Frontiers (ISF) World Cup. He entered four images, and apart from winning a medal, the two images below were accepted for exhibition.

Members do well in recent PSSA salons Several other CTPS members also had good results in recent PSSA salons.

Steff Hughes had three Acceptances in two different salons. In the Sandton Salon her image Purple Dawn was accepted in the Scapes-Colour Digital section and in the Kathu Salon she got two Acceptances in the Open -Scapes Sunrise or Sunset section: Sunrise and Sunset Fisherman.

Mo Bassa had an Acceptance for Blou berg in the Vereeniging Digital and Print Landscape Salon as well as an Acceptance for No smoke without fire in the Photojour-

nalism section of the North Natal Salon.

Sandton Salon In the Sandton Salon the following members got Acceptances: Andrew Denny: for Windy Sunset in Scapes-Colour Digital Anna Engelhardt: for Great Expectations in the PeopleMonochrome Digital section.

Karyn Parisi: for Wave Symphony in Open-Monochrome Digital Dante Parisi: for The Approaching Storm in Open-Monochrome Digital.

Left: Windy Sunset by Andrew Denny — Acceptance in the Sandton Salon.

Right: Great Expectations by Anna Engelhardt — Acceptance in the Sandton Salon.

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Cape Camera • April-May 2015

CTPS news flashes

PSSA honours for CTPS members Three CTPS members were awarded honours for their submitted panels in the latest PSSA honours awards.

Antenie Carstens was awarded his third FPSSA, and Nellian Bekker and Juan Venter got Licentiateships The PSSA has appointed a panel of 12 judges, who meet for a long weekend twice a year, to judge the digital and print honours panels submitted. A smaller panel meet to judge the AV panels submitted.

According to the PSSA website “the judges, all of whom are active photographers, have been selected for their overall knowledge and experience and for their ability to assess, regardless of their own personal taste.”

CTPS member Antenie Carstens is a member of this panel and was awarded a Fellowship in Applied in the latest round. During his close to 50 years as an enthusiastic and knowledgeable club photographer, he has been honoured many times, among them as recipient of the PSSA Service Medal (2006 and 2013) and the President’s Award.

We’ll publish an article on Antenie in the next issue of Cape Camera.

Nellian Bekker got her LPSSA in AV. She also got Acceptances in the George/Knysna AV Salon for two AV’s: All from the same tree and Freeing Ivar the Great.

Juan Venter was awarded LPSSA Mono for his Digital panel.

The next round of PSSA honour submissions close on 25 June, 2015.

Impala Trophy interim results

In the preliminary Impala Trophy Digital interim results (on 10 May) for the year ending June 2015, the following members are among the top 60%. These points do not include the results of the Vereeniging Salon, where Jeanette du Toit gained an additional 8 points, and Mo Bassa another 1.

Rank Name

148

Jeanette du Toit

186

Nature Open Mono Total entries entries entries points 14

5

29

Shaun Laishley

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5

21

252

Marius-lee Pretorius

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263

Nicol du Toit

312

Mo Bassa

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336

Kim Stevens

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336

Joan ward

356

Lesley Parolis

356

Jan Swiegers

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Nellian Bekker was photographed by Leslie Maginley during the De Hoop weekend. Below right: Antenie Carstens.

CTPS meeting dates in 2015 Month July August September October November December

Competition 1 5 2 7 4 2

AV 8 12 9 14 11 9

E&D 15 19 16 21 18 No E&D

2015 Set subject themes The Set subject themes for 2015 will be: 1 July: Low key 5 August: Macro 2 September: Scapes 7 October: 125 year celebrations 4 November: Shadows and/or reflections 2 December Rustic

Awards and promotions

• Beginner to Intermediate: 3 gold awards & 30 points • Intermediate to Advanced: 5 gold awards & 40 points • To Salon: 5 gold & 30 points in club competitions & 30 in salon acceptances / or 50 gold awards.

Points needed for Salon Advanced Intermediate Beginner

Gold 24 22 20 18

Silver 20 18 16 14

Red 16 14 12 10

Points awarded in club competitions count as follows: Gold = 3, Silver = 2, Red =1. Salon acceptances = 3 .

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CTPS 125 years:

De Hoop congress a highlight During the weekend congress at De Hoop CTPS members enjoyed six exceptional lectures and a workshop by speakers who showed why they are leaders in their fields, stunning dawn dune and sea landscape photography, a celebratory dinner and plenty of opportunities to socialise. The result? A weekend that will long be remembered as a highlight of the 125 Year Celebrations

Paul Bruins, who explained the intricacies of night photography, in conversation with Melanie Neethling.

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Guy Palmer (left), who introduced the conservation plans for De Hoop, talking to Anthony Priday.

earning has seldom been so much fun: six top notch speakers kept CTPS members (and some family members) glued to their seats, clouds provided just enough cover to deliver stunning sunrises (and one sunset) and to top it, CTPS sponsored the food and wine for a jolly celebratory dinner for 70 people. What a congress!

All courtesy of the boundless energy, organisational power and boer maak ‘n plan attitude of Pat Scott. As can be expected with a function of this size and complexity held in a brand-new conference centre, there were a few hiccups, but had Pat not mentioned them, very few delegates would have realised.

In addition, she organised goodie bags from sponsors like Orms, who offered attendees five free prints on their new next millennium printer and assisted with the printing of the conference programme, mugs from Canon, and treats from sponsors like Mantellis.

De Hoop, past and present

Despite the heavy burden of organising a congress enjoyed by 70 people, Pat Scott kept on smiling.

with An Introduction to De Hoop Nature Reserve, discussing the history, reasons why this is such an important protected area and future conservation plans for the reserve so interestingly that late arrivals were envious.

Photographing night skies

Conservation ecologist Guy Palmer from the Cape Nature Scientific Services, kicked off the conference on Friday afternoon

Wildlife and landscape photographer Paul Bruins unpacked the ins and outs of Photographing the Nightskies, sharing tips on capturing night-time pinprick images of the Milky Way, doing star trail photography, or painting with light. Self-taught Bruins showed some of his own exceptional scapes, which he likes to shoot as panoramas — vertical and horizontal — which he then stitches together.

He also explained the pros and cons of long exposures (up to 11/2 hours duration) compared to stacking multiple 30 second images in creating star trails.

The overcast conditions, combined with a near-full moon, were not optimal for a starphotography workshop after sunset, but Paul instead showed members how to paint with light, using the swamp-like NaJeanette Brusnicky applied the guidance supplied tal fig tree as a canvas (see imby Paul Bruins to create this ‘lightpainting’ of the age left). fig tree at De Hoop.

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Cape Camera • April-May 2015 Far left: Detlef Basel listening intently to art photographer Martin Osner.

Left: Chris Fallows and his wife, Monique, answering questions about his stunning wild- and sealife photography.

Below: Pat Scott with Nicole Palmer, who ended the congress on an inspiring note, showing macros as art photography.

Passion for wildlife On the Saturday morning, Chris Fallows shared some of his passion for wildlife Above, Below and Beyond. His interest and love of the bush and wild animals was born from, and nurtured by, the detailed email he received after he contacted Mark and Delia Owen after reading the book Cry for the Kalahari about their experiences with a pride of lions in Botswana — which Chris subsequently photographed.

ages does what the Medieval churches hoped to achieve by commissioning paintings: he converts.

Saving Orca whales

The awe and respect with which he introduces his unbelievable images of lions in Kaokoland, elephants in northern Namibia, a tiger in India, a snow leopard in the Himalayas, wild dogs in northern Botswana, diving alligators in the Everglades, the millions of fur seals and thousands of king penguins on South Georgia Island, etc. illustrates how good wildlife photography contributes to an understanding and love of nature.

Chris has probably done more than any other wildlife recorder or conservationist to encourage people to look at the great white shark with admiration, instead of revulsion. His portrayal of the magnificent wingspan of the albatross, which mates for life, forever dispels the dead albatross around the neck myth.

By portraying the birds, sea creatures and wild animals in full glory in their own environments, Chris’ im-

Equally inspiring, was the award-winning presentation by New Zealand marine biologist Ingrid Visser, a friend of the Fallows’, on Orca whales (actually dolphins). She has done much to change perspectives about the killer whales she has researched for and photographed for the past five years ... for example, that Andrew Denny attending a lecture. there are no record that they had ever attacked humans.

By portraying the individual personalities of the different animals and interacting with them, she shows her audience a completely different animal to the To p9

Robert Maginley and Kim Stevens (front) Lambe Parolis and Kathy Priday (back) waiting for a lecture to start.

Brian Hallock and John Spence handing out ‘goodie bags’, to Cathy Bruce-Wright, Barbara Hallock and Jeanette du Toit (front)

Let your imagination lead you. Clear your mind and focus on how to capture the subject to evoke feelings later on

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Celebration dinner

ANNA MORRIS recorded the fun delegates were having at the congress dinner, sponsored by CTPS 1

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1. Pat Scott sharing a joke with Detlef Basel.

2. The ‘Full Spectrum’ ladies and partners.

4. Jenny Powis with Joyce and Richard Goldschmidt.

3. Len van Wyk, Margaret Collins and Nellian Bekker.

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5. Dante and Karyn Parisi.

6. Babette Frehrlink and Mo Bassa.

7. Anna Morris and Detlef Basel.

8. Marius Stockenstrom and Jacoba van Zyl.

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9. Lorinda Rodriguez and Gaynor Donovan.

10. Ariane Jenssen, Steff Hughes and Stella Coram.

11. Anthony and Kathy Priday.

12. Tessa Louw and Patricia Marais.

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Cape Camera • April-May 2015

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13. Lesley Parolis, Steff Hughes, Stella Coram and Jeanette du Toit.

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Robert Maginley, Nicol du Toit and Carin Hardisty.

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15. Brian Hallock behind his wife Barbara and Jeanette Brusnicky.

16. A watery toast from Joan Ward.

De Hoop Congress cont. from p7 killing machine so often associated with Orcas.

Photography as art For centuries art had been a form of photography, but now photography as an art form that has taken the world by storm, says fine art photographer and gallery owner Martin Osner, who considers “a camera as one of the tools of modern art.”

Asking a photographer what camera do you use is the biggest slap in the face of a photographic artist, he says, equal to asking a chef what kind of stove he uses. The equipment does not count as much as the artistic interpretation.

“Photography needs to stand up as fine art.”

The appeal of fine art photography is that it is contemporary — the simplicity compliments the interior decor of modern homes; it is believable; it alters reality, because the camera sees images differently to the human eye. “Photography embraces error and through that brings new artists to the fore,” he says.

Whether portraying reality, impressionism or abstract, there is a rightful place for the genre in art photography.

Photography is also archival, because we can now produce prints that will look the same in 150 years.

“Photography over the past ten years have been going through what art went through the last century,” says Martin. “Technology and technique is changing public perception.”

Evocative images Nicole Palmer ended the congress on an inspiring note with her soft, artful, Evocative Images that show how

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16. Julie Dyer, Kim Stevens (and husband).

pushing the boundaries can create beauty from everyday objects. She showed how she combined macro photography with her training and background as a graphic artist and potter to paint with light.

“Getting the artist out of everyone is what I enjoy,” she says of the workshops she conducts with her son.

She concentrated on macros because she found with a macro lens she could go in very close to her subject — she recommends, for example, that her students lie on their sides when photographing a macro, as they can stay comfortable in this position for longer.

“Think in colours, textures, images,” she advises. “Push the boundaries and enjoy what you do. A good image evokes emotion.”

When she took an interest in photography as an alternative creative outlet to the graphic art and pottery she had been teaching for twenty years, she worked on finding her own way of expressing herself in selective focusing, says Nicole.

Selective focusing, combined with vignetting and depth of field, results in a soft background, complemented by textures. She likes to use vegetation as a diffuser, pushing her lens through the border to focus extremely closely on the subject at a minimum distance.

“For a photograph to be successful the balance and composition must be impeccable,” says Nicole. She always takes the colour wheel into account, either using complementing colours in her composition, or opposing colours for contrast.

But, “don’t confuse blur with artistic,” she cautions, “the focal point must be sharp. Let your imagination lead you. Clear your mind and focus on how to capture the subject to evoke feelings later on.”

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CTPS 125 years:

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De Hoop images

Not cold nor rain could keep members from making the most of photo opportunities in the Golden Hours De Hoop offers exceptional varied photographic opportunities: dunes that remind of the Namib, rugged rock pools, beaches, a vlei where the waterbirds return to rest at night, herds of eland, bontebok, zebras, etc. and 1 ostriches grazing among the cottages.

In addition, interesting vegetation like a giant wild fig tree at reception, make this nature reserve a photographer’s paradise.

1. Richard Goldschmidt caught the sunset over the vlei.

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2. Brian (Hallock) at Koppie Alleen, by Jeanette Brusnicky.

3. Nellian Bekker captured members waiting for the sunrise on the rocks.

2. Julie Dyer captured the sunrise over the dunes.

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5. Clouds over De Hoop,

by Ariane Jenssen.

6. Painting the tree red

by Mo Bassa.

7. Jean Bradshaw captured Kathy Priday and Jeanette du Toit on the dunes.

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8. Night tree by Robert Maginley.

9. Glow of the setting sun by Pat Scott.

10. Lofty view by Anna Engelhardt.

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11. (Kim Stevens) ‘In a world of my own’ by Jeanette du Toit.

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12. ‘Jenny Powis working that scape’ by Andrew Denny.

13. ‘Disrupting the pattern’ by Babette Frehrking.

14. ‘Beach drama’ by Kim Stevens.

15. (Lambe Parolis captured) ‘In the thick of things’ by Anna Morris.

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16. Margaret Collins created this intriguing altered reality image at De Hoop.

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Lovable Leslie is sadly missed

Much-loved Leslie Maginley sadly passed away on June 10th after open-heart surgery. As can be seen from the tributes on the CTPS Facebook page, her engaging smile, ready laugh, wit, love for life and endearing personality will be very much missed by fellow CTPS members. She was indeed a special person because she lit up the lives of everybody she came into contact with.

Leslie was an active AV group member and actively

participated in most CTPS activities. She loved her photography and rarely missed a CTPS outing.

The photos of her above left and middle during the De Hoop weekend were taken by her husband Robert, who also supplied the one right. Below left is how Len van Wyk captured her in the dunes, and below is her image of an eland mother and calf.

Our sincere condolences to Robert and family.

Above: ‘Sunset at the vlei’ was captured by Lesley Parolis at De Hoop.

Left: ‘Tree skeleton’ by Lambe Parolis.

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Cape Camera • April-May 2015

The 125 Year outing in April organised by Pat Scott to the scenic Bein Wine estate in the Stellenbosch area resulted in Impressionist-style landscape and sunset images and much envy from other members who didn’t attempt the hike up the hill to enjoy the sunset picnic

Impressionist images from Bein Wine Left: A Panoramic view by Jeanette du Toit.

Below far left: A Van Gogh-like image of the farmlands

by Julie Dyer.

Left: Sunset Vines by Kim Stevens.

Below far Left: Peaceful Glow by Pat Scott.

Below left: Richard Goldschmidt captured this sunset image.

Below: The CTPS group with the donkeys that transported the picnic provisions up the hill.

Bottom: An image of the landscape by Jeanette du Toit.

Above: Bein Wine by Julie Dyer.

Above right: Framed by Kim Stevens Right: Firery Skies by Pat Scott.

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Cape Camera • April-May 2015

- 14 Far left: The late Roy Johannessen, a legendary CTPS member, with two 16mm projectors which he used before he also started audiovisuals. Photo provided

by Antenie Carstens.

Left: A flyer advertising a film and slide feature presentation by CTPS during the Cape Town Festival. Does any member recall from which year?

CTPS 125 years

AV & cine in the ‘old days’ AVs and cine have been an important part of CTPS activities since the earliest days, as can be seen in these excerpts from Eric Vertue book: Cape Town Photographic Society 30 October 1890—30 October 1990.

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he first record of an AV shown at the Cape Town manufacturers became apparent. Kodachrome was on Photographic Club was on 15 December 1891, the market, faster and finer grain monochrome film was during which we gained our first honorary mem- available and the 35mm camera became a possibility. bers. Eric Vertue recorded it as follows in his book Fine grain film boosted the smaller formats. on the history of the first 100 years of CTPS: First cine members ‘Capt. and Mrs Hayes, who gave a lecture on photographing animal life and explained that when photographing a In cinematography the 8mm and 16mm explosion took horse it was advisable to do so away from the stable as this place. Here, in colour, the tiny 8mm found its niche but would ensure that the animal would not give the impres- photographic societies did not cater for them so cine clubs sion of being listless. were formed. In 1948 I (Vertue) was approached by Lewis Capt. Hayes brought his own lantern, a Lewis, or Bill Lewis, as he was generally Lanternoscope. The evening closed with known: could he and his cine friends Mrs Hayes giving an excellent rendering Captain of None has been come under the umbrella of the generof Mary Queen of Scots during which the screened many times and ally respected Cape Town Photographic different scenes were very nicely illus- does not lose its appeal. PosSociety? trated by suitable scenes. Capt. and Mrs sibly because it is an extraorNot all members favoured the suggesHayes were unanimously elected Honor- dinary good documentary. tion.

Other, older, societies had found ary Members! that their proceedings were disrupted.

In the late 1890’s features (audio-visuMy feelings were that, correctly administered through a als) made their appearance. The author would stand beconstitution, it would mean more members, more subhind Bill Kidd, the lanternist, read his script and tap Bill's scriptions and a dream of our own Club Room would be left shoulder when the slide was to be changed. This was realised faster than remaining as we were and carried on cumbersome.

Later years the lecturer would insert his jack plug and during the previous 55 years.

Bill Lewis brought in Pim Penso, a leading 8mm worktake the electric flex fitted with a bell push to the front of the hall — push the bell bush, a red light would blink er. He was joined by Terence Stafford Smith, who had next to the projector and the lanternist would change the switched to 8mm, and then Ken Halliday, that stalwart slide. By today's standards it seems primitive indeed, but member of later years, lent his weight. A member of long it worked. Even when the first simple tape recorders made standing, Herbert French filled the post of secretary, and their appearance, this system was in operation. so a Ciné Section came into being, with their own rules When the war was over the great strides made by the and financial accounts.

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Cape Camera • April-May 2015

AVs through the ages

JOY WELLBELOVED researched how AVs started and developed through the ages

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e know from historical records that shortly and demons. These slide-shows became knows as Phanafter the discovery of the basic principles tasmagoria, and the projectionist became Professors.

The professors would often hide the projector in anof optics, images were created to be shone onto a surface to be viewed many times other room, with only the lens peeping out, or even hide magnified. This was one of the first versions of the mod- behind a sheet using back-projection. ern microscope.

After a short time, when audiences As the only light sources in those days As the image depends became more discerning, static images were candles, the projected images were on the magnification no longer satisfied, and the professors very dim, and flickered in time with the and the brightness of graduated to using two or three projeccandle. Also, as the brightness of the the source, they could tors, all projecting images on the same image depends on the magnification, only be viewed in very spot on the wall. By using such crude methods as opening and closing shutand the brightness of the source, they dark, small rooms. ters in front of the projectors, it was poscould only be viewed in very dark small sible to create the impression of moverooms. A final factor was the size of the object being projected, as larger images transmitted more ment, such as a building catching fire, a boy falling into a light, and thus gave brighter images. These were usually well, and suchlike.

Fancy projectors mounted on top of each other became hand-painted images on glass slides. All these factors restricted audio-visuals to small rooms with few lookers-on. highly sought-after tools of the trade with fancy names A modern paraffin wax candle with about 13 lumens like Bi-Unial and Tri-Unial for 2-in-1 and 3-in1. light output is very much dimmer than the brightest modMeanwhile, the light-source was constantly being imern projector at 40 000 lumens. Although the Electric Arc proved from candles, to oil-burning Argand lamps, to lamp with an output of about 10 000 lumens was invent- limelight, then finally to the electric incandescent lamp. ed around 1800, its widespread use was limited due to its The brightest light of all was the Electric Arc lamp, but that complexity, and lack of a reliable electricity supply, and the never made it into projectors until much later, and then next best was limelight. The earliest Magic Lantern shows only into cinema movie projectors. must have been very, very dim by our standards.

The advent of photography using glass plates, and the AVs, as we know them these days, started with the per- discovery of how to make glass positive prints that could son controlling the Magic Lantern, while narrating a story be used as lantern slides, really gave Lantern shows a big of what was being looked at. boost. And so things remained for many years until the Soon light sources became much brighter, allowing more miniature 2” by 2” slides became the standard when Kopeople to view the show at the same time in larger rooms, dachrome colour transparency film was introduced.

After WW2, as a result of technical advances made, the and so an entertainment industry was started, with showmen trying to outdo each other by scaring the wits out of old Lanterns rapidly became obsolete as the new Kodak gullible viewers, who were presented with images of ghosts slide projectors took over.

To p16

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Cape Camera • April-May 2015

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AV history cont. from p15 For a while slide-shows became totally boring events using a single projector only capable of holding 2 slides at a time – one being projected, and one being replaced, with a black screen in between. Generations were bored still as everyone showed off the slides that they took on their latest trip, or of the new addition to the family.

Projector technology was dramatically improved with the introduction of the Carousel slide magazine that could hold up to 80 slides, and it was not long before enthusiasts saw the potential, and linked up two or more of these pro-

jectors with a tape recorder and pulse unit and audio visuals as we know them were once more thrilling audiences.

Then came the digital revolution. Camera technology was rapidly improved to the point that image quality soon equalled, or surpassed, that of the old 35mm slides. Digital projectors, however, took much longer to get the image quality to match the camera images.

The simultaneous development of the PC, and with it slide-show software, finally set the audio visual world free of the restraints that made it a very expensive creative outlet for the few.

It is now possible to develop an audio-visual show totally on one PC, incorporating music that is synchronised to the images down to the last millisecond. And something that was only a dream 30 years ago – if you made a mistake, you just edited that portion of the show to fix your mistake, and carried on.

Using Wings Platinum, for example, it is now possible to easily set up and project from 1 to 99 timelines of images, where each timeline corresponds to a projector containing an almost infinite number of (digital slides) images – and all this using only one digital projector No wonder the old-time audio visual Professors, with their complicated 6 projector setups with tape recorders and dissolve units, look down on PC-based AV shows and say It just is not the same any more!

In the next Cape Camera, Antenie Carstens — one of the Professors — will share his personal audio visual journey.

How AVs & cine became part of CTPS cont. from p14 This only lasted for a short period, when there was the unanimous request that the Cine section be integrated fully into the society. Originally, one of the two vice-presidents would be a still, and the other a cine worker. The president alternated as well.

More recently, with cine on the decline, it has not always been possible to carry out the original intention. Originally, every Wednesday was a meeting evening: prints, 16mm, slides, 8mm was the procedure. A fifth Wednesday gave the opportunity of having a joint meeting.

8mm Film had virtually disappeared off the market and not sufficient video was yet available to take up the slack,’ wrote Vertue.

Captain Of None ‘It is an acknowledged fact that there is no better training than training at the bench, so it was that in the late forties the Cine Section planned the shooting in 16mm, of a film in which as many cine workers as possible would be accommodated, even if only to be present at the shooting sessions,’ wrote Vertue.

‘In 1950 the script for Captain of None was complete even to the making of props and a dollie. The leading part was taken by Captain Frank Cauvin, a one time sailor before the mast, but now a pilot bringing ocean liners in for docking.

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Many weekends were spent in shooting with Bert Fisher, manager of a cinema film company, as director. Members learnt much from the editing crew and the correct way of doing things. Tape recorders had only just made their appearance, with Staffie Stafford Smith using one of the early machines. Again a lot of time was spent on the commentary and the subsequent synchronisation.

In 1951 the film was ready for showing. It won much praise, but what was even of greater importance, was the enthusiasm it created.

Captain of None has been screened many times and does not lose its appeal. Possibly because it is an extraordinary good documentary.

The pilot climbs the rope ladder in a stormy sea, takes control of the ship, with hand signals steers the ship through the narrow dock entrance, the ship is tied up and the relieved Captain, and equally relieved Pilot, retire to the Captain’s cabin for a sherry!

Good story, well played and photographed. Plenty of interest and action.

The ladies were not going to be outdone – Maureen Bateman, Daphne Thayser, Mabel Chater and helpers produced their film Dangerous Game. Great expectations, as it contained a lady having a bath — disappointing when all the foam virtually obliterated even the bathroom!

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Competition News

Cape Camera • April-May 2015

We now have a completely overhauled projection and sound system for competition and AV evenings: Lesley Parolis competently arranged for the installation of a new motorised 4m HD screen, which needed a scaffold to take its weight (and subsequently required the repainting of the wall); and also purchased a new sound system in time for the June meeting.

These will complement the HD projector bought earlier this year for state-of-the-art viewing of images and AVs. In April the competition judges, Fish Hoek Club chairman Peter Brandt (external) and CTPS members Kim Stevens and Joy Wellbeloved, judged the Monochrome Set Subject (28 PDI and 23 Print) and Open (26 PDI and 16 Print) competition entries. The category winners and highest scoring images can be seen on pp20-21.

Kathy Priday’s image, One man’s wealth, also won the junior section of the monthly PSSA club competition (see

p3). Newly born lion whelps by Jeanette Members promoted du Toit (see p21) The following members was the senior en- have been promoted from try in the PSSA club Intermediate to Advanced: competition (see ex- • Jenny Cole-Rous • Kathy Priday planation below).

In May, Western • Cathy Jenkins Cape PSSA Director Johan Kloppers (see p22) and club members Jenny Powis and Jeanette du Toit judged the Set Subject Nature and Open competition entries. See the winning images pp23-24.

The following images were entered for the PSSA club competition: Sunset cruise by Brian Hallock in the junior section and Understated power by John Spence as the senior entry.

Weathered by Kim Stevens is one of the CTPS senior entries in the PSSA club competition.

Lippizaners in transition by Jeanette Brusnicky is another one of the CTPS senior entries in the PSSA club competition.

PSSA annual club competition entries Throughout the year, CTPS competition convenor Lesley Parolis has been submitting the winning senior and junior images for the PSSA monthly club competition — see the winning images and club statistics on the website at www.pssa.co.za.

The scores are out of 45, and in April our junior entry won with the equivalent score of 25 out of 30.

We have also entered 15 junior and 15 senior images in the annual PSSA Interclub competition. These can be

seen on pp18-19. The total points each club accumulates in each section determines which club wins this competition. An individual senior and junior winner is also selected. These winners will be announced at the PSSA Congress in August (see more p26).

While these entries have to be submitted by a club representative/judge, the PSSA also has a monthly competition for the best website image. Any club member can enter their own images in this competition.

CTPS scores out of 45 per month July

September

October

November December

January

February

March

April

May

Snr

32

37

30

34

38

40

33

35

31

34

Jnr

32

36

31

32

32

31

28

30

37

32

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Entries in PSSA club competition These junior images (this page) and senior images (opposite page) were entered in the 2014/15 PSSA Club Competition Left: An armful of window by Kathy Priday.

Right: Jetty in Perspective by Paul Nuttall.

Below left: Leucospermum Balance by Cathrine Jenkins.

Below right: Himba girl by Lionel Willis.

Below left: Sky and Rock by Lionel Willis.

Below middle: Going separate ways by Jenny ColeRous.

Below right: Wow Bubbles

by Brian Hallock.

Bottom left: A cup of tea by Kathy Priday.

Above: Sunset Cruise by Brian Hallock.

Middle: Nature using technology as a resting place by Jenny Cole-Rous.

Above right: Low key Flowers by Paul Nuttall.

Right: King of the shape shifters by Cathrin Jenkins.

Far right: Kouebokke Veld Cold Front

by Brian Hallock.

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Cape Camera • April-May 2015 Far left: Watchful eye by Lesley Parolis.

Left: Fleet at Anchor by Keith Bull.

Below left: The Bigger Picture by Marius-Lee Pretorius.

Middle: Our daily routine

by Jeanette du Toit.

Below: Eiffel Tower by Jacoba van Zyl.

Reaching Out by Jeanette du Toit.

In a whorl by Kim Stevens.

Early morning ride by Rob Marconi.

Below: Pinnacle by Marius-Lee Pretorius.

Action Reflection by Jeanette du Toit.

Misty mountain by Daleen Nell Hall.

Curious by Robert Marconi.

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Below: Dune Walk by Catherine BruceWright.

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Cape Camera • April-May 2015

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Winning and top images April

Set subject: Monochrome 1

3

2

4

6

1. Winner Advanced, Digital: Three Sisters Revisited (23) by Andre Wijne.

2. Winner Intermediate, Digital: Yangon in Decay (20) by Kathy Priday.

3. Winner Salon, Digital: Patterns in the sand (25) by Jean Bradshaw.

4. Salon, Digital: Misty morning near Pienza (24) by Anna Engelhardt.

5. Winner Salon, Print: Snowy Tree Grove (24) by Kim Stevens.

6. Winner Beginner, Digital: Waterlily by Stella Coram.

5

7. Winner Advanced, Print: Symphony in Black and White (23) by Karyn Parisi.

7

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8. Winner Intermediate, Print: Spirit of St John (19) by Kathy Priday.

9

9.

Advanced, Print: His Majesty (23) by Leslie Maginley.

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April Open winners

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Cape Camera • April-May 2015

Left: Winner Salon, Print: Liverpool (23) by Marius-Lee Pretorius.

Winner Salon, Digital, and the entry for the PSSA monthly club competition, senior category: Newly born Lion Whelps (25) by Jeanette du Toit.

Winner Advanced, Print: Yellow Boat (24) by Vic Els.

Winner Advanced, Digital: Rush Winner Intermediate, Digital: Legacies of reconciliation and leadership (20) by Cathrin Jenkins.

Hour (22) by Robert Marconi.

More April high scoring set subject images

Salon, Print: Snowy forest path (24)

by Lambe Parolis.

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Salon, Print: Rain (24) by MariusLee Pretorius.

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Advanced, Print: St Ives (23) by Steff Hughes.

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Cape Camera • April-May 2015

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Judging nature and wildlife images

W

PSSA Western Cape Director Johan Kloppers is a renowned wildlife photographer who recently got his PSSA Fellowship with his wildlife panel. He was not only the external judge for our May competition (set subject Nature), he also gave a talk on how to judge wildlife/nature photography at the Western Cape Judging Forum in April. This is a summary of his talk

ildlife is one of most difrapher to educate the audience about ficult photographic gennature and wildlife,” said Johan. res — you need techniWhen using software to enhance the cal skills like exposing image, the photographer must decide the image correctly, you need fieldcraft which lines to cross. You can dodge and skills to predict animal behaviour, you burn a bit, but things may not be taken need patience, and it is vitally imporout. tant to know your subject matter. So Captive subjects could be acceptable says Johan Kloppers, who has been an if, for example, the photo is taken to avid wildlife photographer for 44 years. show an endangered species. “It deAn experienced judge, he explained pends on what you do with it,” he cauthe intricacies of judging wildlife photions, pointing out that the behaviour tography to the Western Cape photogand expressions of animals in captivity raphers attending the Judging Forum is different to an animal in the wild. skills development course, including 18 Good wildlife images CTPS members.

He quoted wildlife photographer Mark “Anticipation plays a vital role in wildManipulation removes the reDumbleton who said that he mainly life photography,” he continued. “You sponsibility of the photogratakes wildlife photographs to potenmust have knowledge of the area, the pher to educate the audience tially create a photograph with enough time of day and position of the sun. You about nature and wildlife emotion to tell a story. must know the best time of the year For Susan McConell wildlife photogto go to a spot and you must know the rhythm of the veld. You must have knowledge of your raphy has a very important purpose, namely, that powequipment, know the dangers involved. And you must erful images help people connect to nature.

When judging, you should not become too concerned have lots of luck.” about technical aspects, advises Johan. “Look at the comWhen judging, you have to have wildlife knowledge to determine the authenticity of the image, he added, giving position, exposure, and light – the building blocks of a examples of several well-known cases where photogra- good photo.”

As a judge he is fed-up with images of bees on flowers, phers used models or manipulated the image to portray butterflies, praying manits, etc. “Try and take a picture noa dramatic encounter in the wild, which never happened. body else has taken.”

Manipulation and cheating Take into account when judging Representing the truth and nothing but the truth is crucial in wildlife photography, he quoted outspoken conserva- • Subject matter: according to Diane Arbus the subject is more important than the picture. tionist and well-known wildlife photographer Mark Carwardine. “It raise the hackles if you try and pass off heav- • Composition: understand the rules and look for the elements in an image, e.g. a good base line, L-line, a diagoily manipulated images as genuine, without explaining it nal line to the focal point, triangles, circles, an s-curve, in a caption.” placement of the focal point and highlights (off-centre/ These instances include where TV footage had been thirds). Movement from left to right is more acceptable shot in a zoo, without declaring that dramatic images — than from right to left, and you may reverse the image. e.g. the birth of polar bear cubs — were shot in an enclo• Light makes photography: Aim for the warm early mornsure. Another example he quoted was the prize-winning ing or evening light and where it is not possible, convert shot of a yellow mongoose and cobra fighting, which Barthe image to black and white, advises Johan. Avoid midrie Wilkins had disqualified because he had the knowldle of the day. “A flash can be used to balance natural edge to realise that models, and not live animals, had light – if you shoot against natural light and can’t get been photographed. behind it.”

“Manipulation removes the responsibility of the photog-

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Cape Camera • April-May 2015

Winning and top images May

Set subject: Nature

2

1

3

1. Winner Salon, Digital: Hungry Hunter (25)

by Joan Ward.

4

2. Salon, Print: Martial Eagle Struggling in the Mud (26)

by Jeanette du Toit.

3. Salon, Print: Tiddler for Tea (25) by Joan Ward.

5

6. Winner Advanced, Print: Electrifying Defence of my Salmon Lunch (25) by Dante Parisi.

5. Winner Beginner, Digital: Oops dropped my lunch (20)

by Paul Nuttall.

7

8

8. Salon, Print: Belly full of Springbok (25) by Pat Scott.

7. Salon, Print: Kalahari Gold (25) by Kim Stevens.

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4. Salon, Print: Frog fatality (25)

by Joan Ward.

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Cape Camera • April-May 2015

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May Open winners

1. Winner Advanced, Digital: Falling Diamonds (24) by Richard Goldschmidt.

2. Winner Salon, Digital: Approaching Elephant Group (25) by Jeanette du Toit.

3. Advanced Winner, Print: Oops.

What Have I Done (25) by Dante Parisi.

Winner Beginner, Digital: Jetty in Perspective (20) by Paul Nuttall.

Salon, Digital: Inside Out (24) by Kim Stevens.

Salon, Digital: Palermo Cathedral (24) by John Spence.

May more high scoring set subject images 9. Salon, Digital: Gibbon Snacktime (24) by Jeanette Brusnicky.

9

10

10. Salon, Print: Rough play (24) by Pat Scott.

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Cape Camera • April-May 2015

You gave the verdict: one judge only

Members have cast their vote: the majority want to return to the one judge-system on competition evenings. As promised, members were given the chance to express their preference for one or three judges after a 4-month trial period between January to April this year

D

uring the May E&D meeting members were given the opportunity to discuss whether we should have one, or three, judges for competition evenings, whether we should train members to become judges, and whether we should have outside judges, or only people familiar with the club system. This discussion was summarised and sent to members by email.

Members then voted for the option they preferred, and indicated that they wanted to return to one judge only.

The awarding of monetary prizes for winners of the different categories was also discussed, and it was decided to discontinue the practice of giving money as prizes to category winners.

Thus, Michelle Slater was the sole External low June May April March February January

18 16 13 18 17 18

judge of the competition images in June (here choices will be featured in the next issue of Cape Camera).

During the first five months of the year some of the very accomplished and experienced judges who are CTPS members, as well as members who are attending the Western Cape Judging Forum course with the aim of being trained as judges, joined an external judge as part of the three-judge panels.

It is very interesting to see how similar the scoring of the experienced and trainee judges were. Most months the score of the individual judges, as well as the average score, was 22 (including in June).

There was also not much difference in the spread of the high and low scores (see table below).

Judge#2 low

Judge #3 low

Average low

17 17 17 16 18

17 16 17 18 18

17 15 18 18 19

Pat Scott is back on council to organise the E&D evenings and select the judges, in addition to organising 125 Year activities.

External Judge#2 Judge high high #3 high 29 28 27 27 26 25 25 26 28 23 28 26 27 27 27 26

Average high 26 25 26 27 27

Top speakers at PSSA 2015 congress

Among the interesting presentations by renowned photographers that attendees of the PSSA Congress in the Canolas can look forward to, are: • David Benn: Photography, Railways and the Anglo-Boer South African War & Antarctica by Tall Ship • Manus van Dyk: Low Light Photography • Benny Gool: Photographing SA icons (Mandela, Tutu) & Gangs of the Cape flats • Antenie Carstens: PSSA in 60 years - 1954 to 2015 • Paul Bruins: The Magic of Nik Color Efex Pro & The 10 most valuable lessons that I learned to improve my photography

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• Anne d’Oliveira and Franz Jesche: Making of “In Darkest Africa” • Hougaard Malan: The Exploration Factor - looking for new and unique shots • Johan and Margie Botha: An Audio-Visual Potpourri & Landscapes from the Americas & The Quiet Kgalagadi Wildlife photography during quiet times • Francois Roux: Sport photography • Johan Kloppers: Wildlife Photography The congress will be held from Sunday 9th - Friday 14th August in Swellendam, and there are still a few places left. See more at www.pssa.co.za.

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125 Year celebration diary Save these dates for 2015

June 17, 2015

E&D evening with Justin de Reuck speaking on aerial photography

June 21, 2015

Deadline for uploading images of the City Walk outing on Photovault. NB not bigger than 1MB

July 15, 2015

Marius van der Westhuizen’s practical workshop Painting with light, at R150 each.

Please let Pat Scott know asap if you are interested at p.a.charteris@gmail.com

July 20 to 4 August, 2015

Exhibition of members’ work across 125 years in Artscape Opera House foyer.

August 2015

Postberg outing during flower season.

Date and details to be confirmed.

August 9-16

PSSA National Congress in Swellendam 9-14 August. Organised by Swellendam Photographic Society and Cape Photographers. See p25 and PSSA website at www.pssa.co.za (Congress tab).

September 16, 2015

An illustrated talk on the club’s 125 years’ history. Possible AV shown?

September

CTPS AGM and Council election

October 2015

Cape Town Photographic Society 125th Anniversary Salon for print (Antenie Carstens), PDI (Lesley Parolis), AV (Nellian Bekker). Coordinated by Nicol du Toit.

24 October, 2015

Western Cape Interclub competition

October 30, 2015

The society’s birthday will be celebrated exactly 125 years after it was founded with a gala dinner at Granger Bay. An eminent speaker from overseas will possibly attend and old and current members will be honoured.

For updates on outings, consult the CTPS website at www.ctps.co.za www.ctps.co.za

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